Tilton Art

I have long admired the fun, quirky patterns that Marcy and Katherine Tilton design for Vogue; and, while I own several, I do believe that this is the first one I have sewn up.  {What???  Vogue's Patterns have gotten expensive  --  I wait for a really good sale, then buy several.  Okay:  many.  It takes a while to get around to them, sometimes.  Don't pretend this has never happened to you.}




I bought this fabric during a recent-ish sale @ Hancock's.  It is 85% linen/ 15% rayon, and at 70% off the original price, I simply couldn't leave it in the store.  I bought the last 1.5 yds on the bolt with no idea what I'd make of it.  When I thumbed through my stash of patterns, and found that this skirt only needed 1.875 yds, I knew that this would work!!!






 The mathematician reading this thinks, at this point, that I need a thorough review of Basic Arithmetic facts regarding comparative value of integers.  Not so fast, Copernicus  --  I may not know all things Math, but I do know sewing.  Specifically, I know that I can generally lay out pattern pieces closer than their computer can.  I also know that pocket, waistband, and hem  facings don't show, and can be cut of a different fabric, as long as the weight and character of the facing fabric acts the same as the fashion fabric, and that the colour/print doesn't show through the right side.   Good thing that I know all of this, because this fabric shrunk a lot in the wash.  If you haven't all ready learned this great sewing truth, then hear me now:  always pre-wash fabric before cutting!!!

It went together easily.  The funky inserts, and cross-cut, and bias-cut pieces presented no problems whatsoever.  It not only went together easily, but it was easy to see where the construction was going to end up, several steps down the road.  These traits make this pattern an excellent choice for a novice sewist, who yearns to do something that appears to break a few rules.  Go for it!!  The curved waistband makes for a comfortable, and attractive fit.  The pocket flap that is supposed to be narrower than the pocket, means that the sewist can mess up and cut one of them too small, or too large, and they will still work nicely.


I love the funky, shabby-chic vibe of this skirt.  Naturally, I chose to wear it with a silk lace top (Ann Taylor) and pearls. (Jewelry store in Shanghai - gift of my husband)

I will make this again!  Just as soon as I figure out what fabric, lay-out, and topstitching changes will make the next one look completely different!

BTW:  What do you think of the caliber of these pictures??  They were taken by my new secretary, the incomparable, Angie Stone.  Angie, and her husband, Scott own and operate a photography studio:  Scott Shots.  Her talent is such that even with my phone's humble, and unalterable camera, the pictures turned out great!!!  Thanks, Angie!!

Origami for non-paper

You know I like weird.
This should require no explanation, by now.

This, however, was weird, even to me.

The pattern is from The Sewing Workshop, called Origami Skirt.  I liked it the first time I saw it.  It's not quite a skirt (the left leg is completely encased), but it's not at all pants or culottes.  It's almost a hybrid of the three.  As I said:  weird.

For best effect, the fabric choice should  be something with a lot of drape, and a soft hand.  I chose a rayon challis in a colourful purple paisley/animal print.  More weirdness.  Perfect!

It sewed up easily, with no really tricky instructions; but, because the parts, are so atypical, close attention is warranted.  The left leg's pattern piece is unlike anything I've ever encountered, and it would be too easy to turn it upside down during construction, and not realize it until you wondered why the fit was so off.  I speak from experience.  This was my second execution of this pattern.  The first (made 6 years ago of a loose-weave linen) wound up in the trash.  I could never wear it, and didn't figure out what could possibly have gone so wrong, until last week, when I nearly threw the pattern out, but inspected it carefully instead.  An idea struck, and, because I had bought the fabric at a deep discount, I decided to try it again, marking top, bottom, and left/right sides all the while.

So glad I did!!

I love the drape, and the fact that it's strange, but people never quite know why it's strange.
I'm a woman of mystery  --  if contrived!









Here's the one tip I have that you won't find in the instructions:  careful measuring and pressing of facings and hems are critical to even placement of top-stitching.  A template will make the process easier, and more accurate.  You can buy templates, but why would you do that, when you can make them so easily of a manilla folder?  One manilla folder will result in 1/2in, 1in, 1.5in, 1.75in, 2in, 2.5in and 3in templates.   Simply select the one you want, place it on the wrong side of the edge to be folded, fold fabric over the template, and press.  Voila!!  Perfectly measured, pressed fold lines every time!


I love it when a plan comes together.

Experimenting

Some of my regular followers may remember when I received the pattern and book from Nancy Zeiman regarding T-shirt adaptations.  If so, you may have wondered if I am ever going to make something with it.  Here it is!!

Funnily enough, when I bought the book & pattern, I also bought several yards of a lovely wedgewood blue knit that Nancy recommends  for this project.  When I searched my stash for that fabric (and found it, BTW),  I came across this lovely muted purple that is soft, fine, and has wonderful drape.  I could not for the life of me remember buying it!!  It didn't appear to be a remnant of another project (fairly straight-cut edges all around), but it is of such sumptuousness, that I can't believe I didn't buy it with a project in mind.  Maybe I did.  who knows??
Anyway, by then, I had decided which shirt I wanted to make from the book, and there was more of the blue than I needed, but not enough for 2 projects for me, but the amount of purple was ju-u-u-u-u-u-st right!  It was then, that an idea was born.

I wanted to start experimenting with design alterations with the simplest to do - the surplice wrap - but I wanted something more interesting than a solid-colored surplice shirt.  That's when I decided to embroider it.
I selected a simple-seeming trail of flowers, and decided to use just one color of thread for the design.  I love the purple/green combination, and this meant that the shirt could be worn with many more skirts and pants, than solid purple might.
This design, however, elevated my simple shirt to not-so-simple embroidery.  The embroidery design is straight.  Neither my body, nor the shirt's front are.  Would I successfully angle the flowering vine across the left front, without running across a boobie, or stitching off the edge of the fabric???

It took some hard thought - but I did it!!

First: I fused a piece of lightweight knit interfacing [from www.fashionsewingsupply.com - Thanks again, Pam] to the one sizable scrap I had, then I used tear-away stabilizer in my embroidery hoop, increased the image by 20%, and stitched the design.  Perfect!!!
After cutting away the excess stabilizer,  I put more stabilizer in the hoop, and using the sample as a guide (that is: placing the sample over the exact interfaced spot on my shirt that I wanted to embroider), I carefully positioned the shirt's LF in the hoop, such that the curved shirt front, was straight, but not quite straight-looking.  I knew it was right because I had my sample to guide me.  {Okay, I'll admit, I crossed my fingers, and held my breath until it was done}

The stitching came out of the hoop perfectly positioned on the LF, and on my frankly zaftig chest.

However, I had some tension issues during stitching, and, despite careful stabilizing, there were some bare patches in the center of a couple of flowers.  Distinctly white little spots in some, but not all, of the flowers.  Again:  not a problem!  I had intended to embellish each flower's center with a tiny green crystal bead, anyway.  I did SO!  The pretty green crystals covered the tiny oopsies perfectly.

I am very happy with the results.  All of them.  The pattern adaptation was a breeze thanks to Nancy Zeiman's very excellent instructions.  The tricky (for me) embroidery went well, also thanks to Nancy.  This time, help came from her book Machine Embroidery with Confidence, which I recommend to anyone who has an embroidery machine.  She covers every situation, question and problem that might come your way, instilling confidence all the while.


I have worn this a couple of times to rave reviews from all  --  except my husband, who bought me the embroidery machine in the first place!  Go figure!!

Acronyms & Terms of Qrazy Quilters

This was handed out in our local quilt club meeting this week.  It is too wonderful to keep to myself!

BBT = Be Back Tomorrow
BOB = Beginner's Only Block
BOM = Block of the Month
BOW = Block of the Week
BRICKS = 5in x 9.5in precut fabric pieces
CHARM PACK = Package of pre-cut charm squares
CHARMS = small pieces of fabrics cut into squares, or, sometimes, hexagons
COC = Cream on Cream
CT = Connecting Threads
D4P = Double 4 Patch
D9P = Disappearing 9 Patch
DESSERT ROLL =  5in x WOF strips x 10 strips
DIC = Double Irish Chain
DIMES = 10in squares
DIY = Do It Yourself
DSM = Domestic Sewing machine
DWR = Double Wedding Ring
EPP = English Paper Piecing
EQ = Electronic Quilting Software
F8/FE = Fat Eighth = 9in x 22in cut of fabric
FAD = Fun And Done
FABRIHOLIC = This is not a word.  No one who sews, mends, quilts or crafts can have too much  fabric.  If this were a real malady, there would be medical studies and government programs available.  I am not in denial, because you can't deny a problem that doesn't exist.
FART = Fabric Acquisition Road Trip
FQ = FAT QUARTER =  18in x 22in cut of fabric
FFP = Finally Finished Project
FIU = Finish It Up
FLIMSY = Finished top of quilt, not yet quilted and bound
FM/FMQ = Free Motion Quilting
FOUNDATION FABRIC = The fabric on the bottom of your stash that supports the weight of all the piles of fabric on top of it.
FROG STITCHING = removing stitched seams (rip it, rip it, rip it)
FS = Forgotten Stash   If this tragedy ever happens to you, you must immediately put your house on the market, and go buy a bigger one. Or, kick out the two oldest children - your choice.
FW = Featherweight
FWS or, FWSQ = Farmer's Wife Sampler Quilt
GFG = Grandmother's Flower Garden
GTG = Get ToGether
LAYER CAKE = See: DIMES
NICKEL = 5in x 5in square cut of fabric
PIGLET = See: F8
WOF = Width Of Fabric


Most crafts have their own language.  Ours is as colorful as the clothes and quilts we make!!

W/E project.

Let me begin by saying, "Weekend project my 3rd leg!!!"

Any sewer/quilter/knitter/weaver/crafter with a modicum of experience knows that when a pattern promises that you can complete a project in a weekend, they are assuming that your weekend starts when you get home on Friday night, ends very late on Sunday evening, and that you do nothing between the two than WORK ON YOUR PROJECT.

That said, I didn't expect this little table runner to take 3 weeks to complete!
Understand, there was nothing wrong with the instructions --  they were well-written, concise, and easy to understand.  Every part went together easily.  The problem was mine.  My life is sometimes complicated.  Even my days off are rarely [read: VERY rarely] labor-free.  So, an entire weekend to cut, stitch, quilt and bind, even something small, simply wasn't to be.  Still  -- it was a very pleasant 3 weeks!

I was inspired by this project from the Summer 2012 issue of Stitch.  Stitch is a fun new-to-me magazine that features full instructions and patterns for fun, quirky projects for person, home, pets, and gifts.  In each issue there are garments, decor, practicalities, and great, great ideas.  As soon as I saw this table runner, I wanted to make it.  However, when I sorted through my stash to find bright, bold fabrics with which to duplicate the runner they had made, I found this collection of strong, Fall-like fabrics that I had won in a raffle at my local quilt club.  I love the way the colors worked with each other.  I only had to buy the solid  to complete the project.  I chose a very pale muted yellow by Moda.  I thought that the yellow would contrast nicley with the reds in the prints.






There was nothing tricky about construction.  Follow the instruction given, checking your work as you go, and it assembles easily, even though, at some points it's hard to see where this is going.  [I wish I had taken more pictures of the process.  mea culpa.]

If I had a complaint, it would be that while the pattern is reversible (as promised), once it is quilted, I only like the way the quilting looked on the 'diamond' side.  Maybe a more subtle quilting stitch would have made me feel different, but, I am very happy with the results anyway.  I didn't really require that it be reversible.  If I decide I am tired of looking at it, as is  --  I can always whip up another table runner some weekend  .  .  .

Anyone remember these guys???

Whilst looking for a small piece of cotton remnant for a Quilt Club project, I found the remnants from something (I cannot remember what) I had made for my son, Daniel, when he was in Middle School and loves all things Animaniacs - but especially, Pinky & the Brain.  [Anyone remember them???]  Given his age then (12 - 15) and that we lived in San Antonio, Daniel's standard outfit was knee-length denim jeans, and a character T-shirt.  I cannot imagine what I made for him of this printed muslin.  Sleep pants?  Shorts?  A sports shirt??  Seriously:  I got nothin'.   Nonetheless, when I found this, I knew it had to be made for something for his daughter, Emma Rose to wear.  But, what??  The largest piece was 24 in X 16in, and there were 2 6in X 4in pieces.  Hardly limitless options, here.
Then I remembered an adorable skirt that my daughter, Katie, had made for her daughter, Myra.  That will work!
Using the very same pattern (McCall's 5696), and totally stealing her idea for matching bound edge on the pockets, I used the Pinky & the Brain print for godets and binding, and used remnants from a skirt of mine for the rest.  The purchase of a zipper, and several pleasant hours it all this little number cost me.



The coordinating top was more of an adventure.
I found this fabric and could not resist buying it.  Can you blame me?  Hot pink with silver sparkles.  So girly!!
I hadn't picked a pattern when I bought the fabric, so I used the SWAG method (Scientific Wild-Ass Guess), and wound up with quite a bit more fabric than I needed. This caused me to think that a bodysuit would be a good idea.  It was not.
All went well until I attempted to attach snaps to the ribbing at the crotch, and destroyed, repaired, and re-destroyed the fabric.  Snaps were not going to happen, so I cut off the crotch extensions, applied ribbing to the now-straight bottom, and stitched down the side flap.
Oh, well.  The appliqued, and ribbon-edged fabric swatch is a cute touch, don't you think???









It went into the mail with the dress of previous post.
When I get pictures of adorable Emma wearing it, I shall post them, post-haste!

Promise!!

Ta da!!!!

Go ahead.
Extend praise for the extreme adorableness of this dress.
I can take it.

Previous dilemma is solved (both embroidery AND pleats were used in the faux cummerbund section of the sash.  Results are here.

This little dress is for my Grand, Emma R.W. Jones, who is attending a family wedding next month, and wanted new duds for it.  I am only too happy to comply.
The bride's chosen colours are purple, light green and pink (s). When I saw this purple-flower printed eyelet, everything else just fell into place.













I used Butterick 3762 for the dress, which is the same pattern I used for Emma, and her cousin Myra's Christmas dresses, but with very different results. [I can't believe that between Facebook, and blogs, I cannot find ANY pictures of the girls' Christmas dresses to show you!!  Trust me:  they were adorable!!!  Cute dresses, too.]
Since the eyelet is much lighter weight than the velvet I had previously used, I felt the skirt could be fuller.  I also wanted it longer.  Easily done.   Intending to have a very deep hem incorporated into the pleats, I added 8in. to the length, and increased the width of the skirt pieces by 70%. 
I think I got the fullness I wanted.

I cut the skirt's lining (a Swiss batiste) to the same width as the skirt.   This gives the dress' skirt plenty of fullness, but I didn't want excessive bulk around such a tiny, delicate waist.  So, while I gathered the eyelet for the skirt, the lining was taken in with knife pleats all around, to reduce overall bulk.

I am very happy with the results, and can't wait to share pictures of Emma Rose wearing it with you!!